Prelude to Performance

There are many reasons one has for going to the opera. Sometimes it’s to hear that famous tenor hit all the high C’s, or maybe an opportunity to catch someone’s debut in a role. Sometimes it’s to “give a chance” to a new opera. But best of all circumstances is when one goes to the opera knowing one is going to be royally entertained.

After dozens of Don Giovanni’s, what is left to be said? What could one possibly add to all the stellar performances one has seen? Just ask much-honored Maestra Martina Arroyo and her dedicated and gifted faculty whose total commitment to performance skills enabled such a winning production to take place at the Kaye Playhouse of Hunter College. Nothing could compare to the joy of experiencing this opera with an ensemble of perfectly coached young singers who threw themselves into their roles with complete abandon.

No elaborate sets were necessary--a few pillars, a bench. However, appropriately period costumes by Charles Caine contributed much to the telling of the tale. And tell the tale they did! The ensemble work was most impressive to the extent that I would not venture to “name names” lest I shortchange the members of the casts that I did NOT hear. But I will make special mention of Laura Alley who directed her young Mozarteans with both style and substance. No action was unmotivated and stage business always supported the music. Don Giovanni is a long opera but not once did the action flag nor did the attention of the audience sag. Robert Lyall conducted with skill and gusto.

Could such a success be repeated with another opera? Need you ask? Although La Rondine would seems to be a piece of fluff next to Don G. the opera rose to the same heights on the shoulders of the talented singers who were utterly convincing in their dramatic interpretations. This one also had two casts and I have every reason to believe that the cast I did not see was just as accomplished as the one I did see. Again, the charming costumes were designed by Charles Caine but this time, Nicholas Fox conducted in true Puccinian style and Joseph Bascetta directed. In both cases the impeccable makeup and wigs were by Steve Horak.

I understand that these 40 gifted young singers, all in the early stages of their careers, were selected by audition from a pool of four hundred by the very same faculty who would coach them in every aspect of performance other than vocal production. Master classes were given (and open to the public) by Stephanie Blythe, Cori Ellison, Ken Benson and Ben Vereen. The valuable evidence of the superiority of this coaching was the performances themselves. Most impressive is the fact that the selected students pay no tuition for this valuable training. This year marked the seventh consecutive year of operatic delights presented by the Martina Arroyo Foundations’s “Prelude to Performance”. We wish them seven times seven more.

© meche kroop for The Opera Insider